Zhana Ivanova – Carnivalesque


Zhana Ivanova Carnivalesque


Zhana Ivanova’s practice involves rearranging and reconfiguring daily patterns and systems to which we have grown accustomed. The manners in which we relate to one another are of central interest. Her mostly performative works usually feature elaborate scripts, which when enacted produce situations where social and power relations fluctuate.

With the works included in Carnivalesque, Ivanova concentrates on notions of intimacy within the familiar mode of communications online. As mediation expands to comprise a large part of all meaning and experience, it is interesting to consider the effects on personal identity, the body and sexuality. Internet forums, comments, chat websites, vloggers’ diaries – all contribute to a daily polyphony, where singular voices interplay and shape a constant, overflowing narrative. A vast scenario, where unlikely characters interact and where anonymity allows for transgression to thrive without consequence. A certain transience results and detachment feels like a likely response, but perhaps bypassing the specific and withholding the essential can bring us back to an embodied engagement, both physical and emotional.
Carnivalesque features an exploded script of sorts – a display of commentary, where a scene comes into being, solely in the words of others; some exercises in euphoric sensory response and a sporadic dialogue.

Zhana Ivanova (1977, BG) lives and works in Amsterdam. She graduated from the Queen Mary University College, London and DasArts, Amsterdam before attending the Rijksakademie, Amsterdam (2012/2013). Her recent exhibitions include: Kunsthalle Basel (2015/16), Centre Pompidou, Paris (2015), David Roberts Art Foundation, London (2015), Foundation Galeries Lafayette, Paris (2014), Ellen de Bruijne Projects, Amsterdam (2014), Stedelijk Museum Bureau Amsterdam (2013). Upcoming exhibition: Mendes Wood DM, Sao Paulo (2016).

21 May — 25 June 2016

21 May 2016, 5 – 7PM

Thanks to Celine Wouters, Lot Meijers, Joel Galvez

Pauline Curnier Jardin – The Shower of Sister Bondage

The Shower of Sister BondageThe Shower of Sister Bondage

Sister Bondage is this sister who spend her days crossing the streets, big and small streets
At the periphery of any big city
With her fist raised high, and her white nun veil, and her glasses on.

Her fist is heavy, her fist is crude, it’s bones, shells and little colourfull metalic shitty links that cling, silencious – it is a spell, cast yeah, a spell on her arm – a spell, why and whom, we don’t know.

She wants to heal them all, people
She wants revolution, with her bony fist raised so high in the streets when she walks, but instead they all get a hard-on – that’s how it is and how it happens.

This morning she takes a shower and sings:

A still – Volcano – Life –
That flickered in the night –
When it was dark enough to do
Without erasing sight

– Adorable sorceress,
do you love the damned?

Tell it, fair sorceress, O! tell it, if you know,
To this spirit filled with anguish,
So like a dying man crushed beneath the wounded
Who is struck by the horses’ shoes;
Tell it, fair sorceress, O! tell it, if you know

– Two warriors rushed upon each other;
their arms Spattered the air

A pit – but Heaven over it
And Heaven beside
And Heaven abroad
Twas Universe – that did applaud –
Myself distinguished God

– This abyss, it is hell, thronged with our friends!
Let us roll there without remorse
Pauline Curnier Jardin
Opening: Saturday 2 April 2016, 5 – 7 PM
Exhibition: 2 April – 25 June 2016
Curator: Dorothé Orczyk


Performance practices in a gallery context


Image: Kerstin Cmelka (with Nicolas Coster),”Song and Dance Exercise (cowboy shots)”, 2015, photo series, courtesy: Kerstin Cmelka

Performance receives increasingly (renewed) attention from museums and art institutions, the all year round show by Tino Seghal at Stedelijk Museum Amsterdam as an obvious example.
For some years also art fairs are embedding performance programmes as a substantial part of their fair concept. One could think of Artissima, Frieze, FIAC and Art Basel. The latter hosted in 2014 the show 14 Rooms curated by Klaus Biesenbach and Hans Ulrich Obrist, featuring 14 ongoing performances by Bruce Nauman, Allora & Calzadilla, Laura Lima, Joan Jonas, Marina Abramovic and Ed Atkins amongst others.
Performance moved from a black box to a white cube. The one time event became an ongoing exhibition or permanent installation, as Claire Bishop recently pointed out in her lecture White Cube, Black Box: Fifty shades of Grey? at the Stedelijk Museum Amsterdam.

The discussion on how to collect, document and archive performance is currently a hot topic among (collecting) institutions. While contemporary performance artists are still not much represented by galleries, it’s not only the question on how to deal with the actual performance in case of selling, but also to think of what the performance consists of and how the artist relates to its performance. It also raises questions regarding the possible documentation; is it considered a separate work which functions on its own, a supportive part of the performance or mere documentation?

The two previous editions of the performance programme organised at Dolores focused on offering artists a platform for performance within a gallery context. Within this programme artists from different backgrounds where invited to present their work or to experiment or improvise with it. Next to offering a platform, the performance programme in a gallery context was part of the empowerment of this specific discipline within this context.

The third edition of the performance programme will focus on how a performance remains after it has been performed. This small presentation deals with the different forms of performance residues and ways of documenting. Artists included in this show are Kerstin Cmelka, Dina Danish, Jeremiah Day, Dora Garcia and Zhana Ivanova.

In addition to the gallery presentation, a small series of “in gallery conversations” will be organised. The conversations will focus on the practices of performance in a gallery context. Invited artists and gallerists will talk about the challenges of working with performances from the views of both professions.
Please visit the gallery website and Facebook to stay updated on the programme.

Performance practices in a gallery context
Opening: Saturday 6 February 2016, 5–7 PM
Exhibition: 6 February – 19 March 2016
Curator: Dorothé Orczyk

Comments are closed.